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This book, offered here in its first open-access edition, addresses a wide range of writing activites and genres, from summarizing and responding to sources to writing the research paper and writing about literature. This edition of the book has been adapted from the fifth edition, published in 1995 by Houghton Mifflin. Copyrighted materials--primarily examples within the text--have been removed from this edition.
In her entertaining and edifying New York Times bestseller, acclaimed author Francine Prose invites you to sit by her side and take a guided tour of the tools and tricks of the masters to discover why their work has endured. Written with passion, humour and wisdom, Reading Like a Writer will inspire readers to return to literature with a fresh eye and an eager heart – to take pleasure in the long and magnificent sentences of Philip Roth and the breathtaking paragraphs of Isaac Babel; to look to John le Carré for a lesson in how to advance plot through dialogue and to Flannery O’ Connor for the cunning use of the telling detail; to be inspired by Emily Brontë ’ s structural nuance and Charles Dickens’ s deceptively simple narrative techniques. Most importantly, Prose cautions readers to slow down and pay attention to words, the raw material out of which all literature is crafted, and reminds us that good writing comes out of good reading.
When you Read Like a Writer (RLW) you work to identify some of the choices the author made so that you can better understand how such choices might arise in your own writing. The idea is to carefully examine the things you read, looking at the writerly techniques in the text in order to decide if you might want to adopt similar (or the same) techniques in your writing. You are reading to learn about writing. Instead of reading for content or to better understand the ideas in the writing (which you will automatically do to some degree anyway), you are trying to understand how the piece of writing was put together by the author and what you can learn about writing by reading a particular text. As you read in this way, you think about how the choices the author made and the techniques that he/she used are influencing your own responses as a reader. What is it about the way this text is written that makes you feel and respond the way you do?
An indispensable and distinctive book that will help anyone who wants to write, write better, or have a clearer understanding of what it means for them to be writing, from widely admired writer and teacher Verlyn Klinkenborg. Klinkenborg believes that most of our received wisdom about how writing works is not only wrong but an obstacle to our ability to write. In Several Short Sentences About Writing, he sets out to help us unlearn that “wisdom”—about genius, about creativity, about writer’s block, topic sentences, and outline—and understand that writing is just as much about thinking, noticing, and learning what it means to be involved in the act of writing. There is no gospel, no orthodoxy, no dogma in this book. Instead it is a gathering of starting points in a journey toward lively, lucid, satisfying self-expression.
This book explores what writing for pleasure means, and how it can be realised as a much-needed pedagogy whose aim is to develop children, young people, and their teachers as extraordinary and life-long writers. The approach described is grounded in what global research has long been telling us are the most effective ways of teaching writing and contains a description of the authors’ own research project into what exceptional teachers of writing do that makes the difference. The authors describe ways of building communities of committed and successful writers who write with purpose, power, and pleasure, and they underline the importance of the affective aspects of writing teaching, including promoting in apprentice writers a sense of self-efficacy, agency, self-regulation, volition, motivation, and writer-identity. They define and discuss 14 research-informed principles which constitute a Writing for Pleasure pedagogy and show how they are applied by teachers in classroom practice. Case studies of outstanding teachers across the globe further illustrate what world-class writing teaching is. This ground-breaking text is essential reading for anyone who is concerned about the current status and nature of writing teaching in schools. The rich Writing for Pleasure pedagogy presented here is a radical new conception of what it means to teach young writers effectively today.
"This edited collection develops three approaches to studying writing through the lifespan: through new insights and methodological innovations, through site-specific studies with a lifespan orientation, and through longitudinal studies that draw on various methodologies to collect, reduce, and analyze data. These approaches resonate with each other, allowing readers to develop a dynamic, interdisciplinary, multifaceted understanding of the limits and possibilities of studying writing through the lifespan. The authors of the chapters in this collection employ methodological and theoretical approaches ranging from autoethnography to longitudinal structural equation modeling. This variety is in keeping with a vision of lifespan writing research as pursuing a complex research object, one that requires both methodological rigor and flexibility, theoretical precision and adaptability"--
Two award-winning and New York Times–bestselling author join forces for a collaborative novel of awesome proportions. One cold night, in a most unlikely corner of Chicago, two teens—both named Will Grayson—are about to cross paths. As their worlds collide and intertwine, the Will Graysons find their lives going in new and unexpected directions, building toward romantic turns-of-heart and the epic production of history’s most fabulous high school musical. Hilarious, poignant, and deeply insightful, John Green and David Levithan’s collaborative novel is brimming with a double helping of the heart and humor that have won them both legions of faithful fans. A New York Times Book Review Editor’s Choice An ALA Stonewall Honor Book “Will Grayson, Will Grayson is a complete romp. [It is] so funny, rude and original that by the time flowers hit the stage, even the musical-averse will cheer.” —The New York Times Book Review ★“Will have readers simultaneously laughing, crying and singing at the top of their lungs.”—Kirkus Reviews, starred review “It is such a good book. [Green and Levithan] are two of the best writers writing today.” —NPR’sThe Roundtable
Where do you get your ideas? It’s a question that plagues every writer. And once you’ve got an idea, what then? Ideas without a plan, without a purpose, are no more than pleasant thoughts. So how do you come up with those ideas, and how do you turn them into writing that will engage your reader? The Writer’s Idea Book is here to help you find the answers. Utilizing more than 400 prompts and exercises, you’ll generate intriguing ideas and plumb their possibilities to turn them into something amazing. This indispensable guide will help you: • Develop good writing habits that foster creativity • Explore your own life for writing material • Draw inspiration from the world around you • Find form for your ideas, develop them into a piece of writing, and make them better Let The Writer’s Idea Book give you the insight and self-awareness to create and refine ideas that demand to be transformed into greater works, the kind of compelling, absorbing writing that will have other writers asking "where do you get your ideas?"
The forms taken by scientific writing help to determine the very nature of science itself. In this closely reasoned study, Charles Bazerman views the changing forms of scientific writing as solutions to rhetorical problems faced by scientists arguing for their findings. Examining such works as the early Philosophical Transactions and Newton's optical writings as well as Physical Review, Bazerman views the changing forms of scientific writing as solutions to rhetorical problems faced by scientists. The rhetoric of science is, Bazerman demonstrates, an embedded part of scientific activity that interacts with other parts of scientific activity, including social structure and empirical experience. This book presents a comprehensive historical account of the rise and development of the genre, and views these forms in relation to empirical experience.